The Globe and Mail (Toronto)'s Scores

For 4,076 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Pump Up the Volume
Lowest review score: 0 Species II
Score distribution:
4076 movie reviews
  1. A meditation of life, death, reincarnation and biblical symbolism that feels peculiarly like a head-shop poster, blown up to feature-movie size.
  2. As in so many essentially childish movies, it's an actual child who's always the smartest pants in the room.
  3. [Walken's] every minute on screen is filled with that level of jittery invention, and, watching him at play, not even the flintiest temper could resist a wide grin. Envy can surely be a trial, but Saint Christopher is there to ease our troubled journey and see us smilingly home.
  4. Dark Shadows only meaningful relationship is between Depp and his audience. He's a persona now, no longer an actor. And the kick here, as always, is watching him try on funny accents and hairdos.
    • 39 Metascore
    • 50 Critic Score
    As a script it is uneven and tonally inconsistent – best as a brainless, gross-out comedy, less successful when striving for emotional poignancy.
  5. The Black Stallion Returns is not a magic monument - it's only a terrific film for kids. [26 Mar 1983]
    • The Globe and Mail (Toronto)
  6. At the heart of the problem with this period piece is an absence of a riveting scene or a memorable slice of dialogue.
  7. Performances, over all, are a mixed bag; Zeta-Jones does a fair, if incongruous, impersonation of a forties vamp, while Chandler and Pepper do well with limited screen time. As usual, Wright, as a Machiavellian police commissioner, transcends so-so-material to establish himself as the most complex character in the film.
  8. While the outdoor sequences were filmed in New Zealand's Woodhill State Forest – the movie's most stunning 3-D moments – Yogi Bear does feature notable "Canadian content" via two Ottawa-born thespians.
  9. The movie itself seems more familiar than fascinating, more innocuous than inflammatory, and, at 2½ hours, more tedious than anything else.
    • 57 Metascore
    • 50 Critic Score
    The film's long middle section is basically "Paranormal Activity" sans that series' handicam aesthetic, as things go bump in the night and the grown-ups take forever to get their act together.
  10. The movie, which is roughly as predictable as the attraction of flies to dung, is a hackneyed mix of sentimentality and anarchic comedy.
  11. The original was shot in 3-D; this, by contrast, is 1-D all the way.
  12. More entertaining in concept than execution. What starts as geek comedy gradually slides into a familiar morality play about the savagery beneath the veneer of civility.
  13. The film itself struggles to do justice to each victim. Turns out three stories are two too many. The Company Men should have been downsized.
  14. It should be a better, more authentic movie, considering that screenwriters Maupin and his ex-partner, Terry Anderson, are retelling parts of their own story here.
  15. Horns is allegorically cluttered, unsure of its tone and outrageous with its snakery in a half-serious supernatural thriller about good, evil and redemption in a garden of Eden.
  16. If the facts of the story are essentially true, their presentation is as formulaic as ever.
  17. The movie is a preholiday trifle that’s mildly risqué and a lot sentimental.
  18. In the world of pulp movies, where horror, westerns and Asian exploitation borrow and blend with each other, there's a point where the cross-genre mishmash begins to feel like gobbledegook. That's definitely the case with Sukiyaki Western Django.
  19. This is the kind of picture that is faux subtle when it should be bold, and really ham-handed when it should be delicate.
  20. Where this PG-rated adaptation of a hit Broadway show, adapted by Adam Shankman falls down is by being far too mild for its supposedly outrageous subject.
  21. There's a scientific law to be discerned here that producers would be well to heed: Mediocre movies start to drag as soon as the action speeds up; when the explosions start, they fall to pieces.
  22. Comes close to collapsing under the weight of drawn-out scenes and an earnest story that piles on minor themes and subplots, but the energy and visual kick of the band numbers saves the day.
    • 36 Metascore
    • 50 Critic Score
    Wobbles like a punch-drunk fighter. It never finds its legs, but allows Ryan -- whose wardrobe looks like Erin Brockovich crossed with Barbarella -- the space to do what she does best: turn on the charm, and make audiences wonder why she's slumming in such a lame storyline.
  23. There’s little here to improve upon the stilted quality of the original, and it’s even more cumbersomely plotted.
  24. With no help from the dialogue, Kidman doesn't have a clue how to make clueless interesting. Not for lack of trying. Her efforts, which often consist of channelling Elizabeth Montgomery by way of Marilyn Monroe, are painful but insistent.
  25. A layabout movie -- not risibly bad, just relentlessly sub-par.
    • 33 Metascore
    • 50 Critic Score
    When Uptown Girls isn't trying to play up its wacky high jinks -- and those tend to be so weak they can't possibly float the film -- it stoops to the kind of psychological character development films this shallow should really avoid like the plague.
    • 39 Metascore
    • 50 Critic Score
    Full of poop and pratfalls, Daddy Day Care's abrasive marketing campaign promises a fresh slice of hell. So for it not to cause physical pain to any viewer over the age of five is a considerable achievement.

Top Trailers